Timothy Steven Clarke "Tribes 2" (2001)

Following up on the Starsiege soundtrack we have another title from the same universe of mechanized PC games published by Sierra around the millennium. Its the only other piece of work Timothy has had published under his name. Tribes 2 is rather similar beast, fusing Industrial noise with metallic guitar licks and a whole host of bombarding samples for a dense and weighty soundtrack.

This time around the experience is a toned down and tied together for a less abrasive, unsurprising listen, in favor of a more consistent and metallic experience. The distortion guitars are notably more present, louder and driving, sometimes offering big mechanical chunks of groove with clunky, robotic power chords or occasionally drifting into the distance, behind the other sounds to provide a layer of depth. A few quirky lead licks, soaked in flange, reminded me of Korn, a possible influence, however the direction is far more Industrial Metal with a distinct lack of a focal melody. These songs lay down sizeable industrial foundations to parry away any obvious sense of tune. Armed up with fast percussive loops and endless samples and whirling synths, dense blocks of sound pave the way for, distorted, manipulated cultural singing samples to rise to the top, becoming the focal point of a cybernetic noise storm.

The record consists of seven tracks, which appear to be themed around levels or arenas in the game, all roughly four and a half minutes. It is obviously designed with the game in mind and so the records and songs themselves start and stop with not much story or progression, probably as they were designed to be looped during game play. An exception to "Badlands" however, the guitar takes on a form of its own as the song builds tension, devolving into a riff fest that expands into somewhat of a solo, quite a nice touch. Either way it fits right into that quirky era where Industrial Metal's popularity crossed over into game soundtracks. I'd like to hear more of this if I can find some.

 Favorite Tracks: Desert, Ice, Starwolf

Rating: 5/10

Timothy Steven Clarke "Starsiege OST" (1999)

In a similar vein to Frank Klepacki's Command & Conquer soundtracks, Starsige is another video game soundtrack of weird and wonderful Industrial music colliding with Techno, Breakbeat, Cyber Punk, Metal and all with shades of Ambience steering the musical intensity. This is the sort of music you could grow to love after hearing it over and over in the background of your favorite childhood games. The difference is I never played Starsiege, It was recommended to me based on my adoration of the C&C soundtracks. I'd always yearned to hear more music in the Industrial Metal styling of Frank Klepacki and this is the closest Ive come yet. Unlike the back road to bands like Nine Inch Nails and Ministry, here is a record that comes after the likes of Tiberian Dawn & Red Alert that pulls influences from Frank's particular flair and contribution to the genre.

All I know of Timothy is his work on this soundtrack and its squeal. His distinction is in the detailed layering of sounds that stack up in these compositions, throwing all sorts of guitars, synthesizers, drum sequences and samples into overwhelming blocks of deep, textural sound that charge at you with big theatrical directions. That's just some of the tracks though, others dispel the lively energy, creeping into mysterious territory with eerie, unearthly synths brooding dense atmospheres over janky disjointed beats. Thick and blunt with its delivery, many of the synths and oddities are paraded upfront with no measure for subtlety. The resulting songs can often be very alike to some of Frank's own but Timothy gets the chemistry right, emulating a rather wild and fringe sound that will turn off many. The vocal presence, where it turns up, is surprisingly dark, offering alien warped voices and distorted shouts in the vein of Aggro-Tech.

The soundtrack is split onto two discs, the first is rather disapointing, with just six tracks it feels like the projects b-sides, with exception to "SS2" and its thudding, pounding break of the Amen Loop, bordering on Hardstyle. The album gets going on the second disc with the anthemic, blood pumping "You Got". From there on the pace and variety is just fine, constantly mixing up the approach, fluctuating the intensity and maintaining the same mysterious, alien, cybernetic atmosphere. Its a journey, a trip and has totally scratched the itch, one to go on the playlist with some of my other favorite video game soundtracks. Great discovery!

Favorite Tracks: You Got, Newtech, SS4, Purge, Watching, SS1,

Rating: 6/10

Izioq "Hello! I'm An Album" (2017)

I had to look it up to confirm, the first release we covered in 2016 was Izioq's "New Songs For Old Kids" and fittingly so is it this years first record we cover on this blog! Its the French composers fifth full length and one that's self aware. The album name and track titles like "I Can't Make An Album Without A Song About My Cat" and "Nice To Meet You I'm The First Track" make playful fun of the childlike and innocent aspirations for the music. Its no departure or major progression but another selection of tracks in the established style totaling fifty one minutes to make it the longest yet!

With that length and self aware persona comes an unfiltered variety that's loaded with sounds reminiscent of previous records as well as new vibes too. The most pleasing aspect for me where dreamy tracks full of quirky daydream melodies dressed up with lush reverbs and playful drum beats that played homage to the innocence of imagination. On a couple of tracks with more fleshed out beats it started to lean in a Downtempo direction with slow repetitive snare kick grooves which were quite engrossing.

Those more progressive styles where found between tracks with similar formats and templates to previous Izioq songs which weighed the experience down for me. It can be hard to get excited for the same ideas done over, the album opener sounds much like "Retro Life"s opener. The sixth track breaks to Izioq whistling the tune of the songs melody, which Ive heard before and so between some very pleasing tracks are throwbacks and homages that I didn't feel brought more to the table.

 The best moments came from the more cautious and cinematic instrumentation that broke away from the conventional quirky melodies and playful upbeat character. The last songs of the record drifted into a reflective and moody state which yielded the fantastic " Joyeuses Vagues", translated "happy waves", which brings a moving sense of departure and farewell in a serene setting, a really warming composition. "Hello! I'm An Album" is a mixed bag of treats, some old, some new and all things in between.

Favorite Tracks: Doodoon Song, Izioqism, A Nifflas Lecture, Joyeuses Vagues, See You Soon

Rating: 6/10

Pilotredsun "Achievement" (2016)

The mysterious Pilotredsun, or pilot red sun, is an anonymous American musician who's aesthetic for cheaply drawn cartoons with twisted, disturbing undertones is united with quirky electronic music. In my mind the two don't pair up, I see the charming side of the tunes, which maybe due to drawing comparisons with the more conventional Izioq. This collection of songs have a whiff of Chiptune, a touch of VGM but reside as melodies played on synthesizers with tones to compliment its vision which is down to interpretation. It may come across as mysterious, creepy and eccentric but for me I feel the warmth that exudes from the music passes the slightly quirky choices in vst's as a sort of childlike innocence. Its nostalgic, I see images of running across train tracks chasing a balloon, trying to jam a fork into the strange hole in the wall, or attempting to unscrew the lid of a strange bottle of blue liquid from under the sink. For me that quirky, eerie quality is danger, the sort young children aren't aware of as they explore their curiosity in a world of beautiful shapes and colors.

"Achievement" is fun, playful and flows with a free spirit. Simple melodies and there accommodating instruments create an ease for the listener to slide into. Nothing over complicates and there is just enough going on to enrich what is inherently simple, often two to three lines and light percussion. The drums are rather subdued but in "Warsaw" they burst to life with a bolder kit sounding more genuine than an 8-bit kit as some other tracks do. The genius comes from the selection of instruments to play these melodies. The slightly quirky, off kilt and "derpy" wave forms compliment the spirit of the music and add to that eccentric vibe which might come off as eerie or creepy, to me it is full of innocence.

The records production has a relatively simple job of balancing just a few, noninvasive instruments and so not much can be said other than it serves its purpose. The record has a great flow, nothing feels over played, or stretched out and between the twelve there is a comfortable balance of melodies and aesthetics. In the records run time a soothing atmosphere free of burden or worry is formed like a bubble drifting into the skies. Its engrossing and uplifting. Absolutely loving this record and Ive only gotten around to it a handful of times, just one of those you can connect with quickly.

Favorite Tracks: Warsaw, Sadpad, 8-Train, Funny Animals

Rating: 8/10

Contact "First Contact" (2014)

Two years before "Zero Moment" the Pittsburgh based duo release this, their debut record, a shorter listen at twenty seven minutes between the four tracks its made of. Much like its successor a clean and animated assembly of synthesizer instruments play Progressive Rock with a VGM characteristic about it. Like in the first record the opening self titled track jumps right into the prog style with a bold, warm and thick synth lead that guides the song with an active melody. After this one the prog takes a back seat to a much calmer and ambient tone as the jovial leads give way to looping background melodies and accompanying strings. On "Terminal Point" a light Rock guitar fuzz's in with a fading overdrive in the opening moments and returns later to play a subdued solo with synths dancing between its breaks. It finds a terrific climax in the end as the guitar and drums continue to grow in volume.

"Distant Voices" slows the tempo down and lightens the percussion as we gently drift through a void of minimalism, with a quiet melody looping in the distance and various instruments taking the lead in a very subdued manor. Its executed brilliantly, creating a warm and friendly atmosphere that feels a little mysterious given the brooding baseline which pops in spaciously with its melody. Some light vocals creep in too, used to sound like another atmospheric synth.

"Icefall" builds up slow, starting with atmosphere its set the tone for another ambient track of subtly and slow progression. At the midway point it picks up pace with fast bustling synths and opens up into an epic setting that feels like reaching a destination. Each song is interesting in its own way and the band seem to sway between its Progressive Synth sound and what I could most accurately describe as VGM music with a hint of ambience. Both aspects are brilliant, even though they are executed well together I get a sense that something greater could come of their music. Either way its an enjoyable half hour of time spent.

Favorite Track: First Contact

Rating: 6/10

Contact "Zero Moment" (2016)

Part of a string of albums Ive discovered recently, the duo "Contact" are part of the electronic music scene in Pittsburgh Pennsylvania and on first listen you may not even be thinking "electronic music". Contact's sound and style is deeply rooted in Progressive Rock, specifically the likes of Sky and ELP. These bands made heavy use of organs and synths at the time and now in 2016 that's been revisited with modern electronic sounds while stripping back the Rock element. Essentially its progressive synth, the same sort of melodies and spirit but with the guitars as an occasional low hum in the mix which in this day and age brings a refreshing clarity to the styles of old.

After many listens I feel almost the same as my initial impression. This is so in tune with the prog sound that nothing was surprising, challenging or out of the ordinary. It felt more so like deja vu, as if you could hear the next note of every lead before it arrived. With pulsating buzz saws and soft marching baselines the atmosphere is set with steady rocking drum beats to let a lead or two dance in the spotlight, creating the theme and direction for the track. At times its almost cheesy, sounding like the theme song to an 80s cop drama but always too classy, its just a familiarity. Most of the songs build up slowly, generally introducing the instruments and letting the mood simmer before it finds its way to the main melody.

The opening two tracks are the best and as both reach their climax in the closing stages. I always felt as if the stage had been set for an epic to unravel but in a few bars the instruments drop out. I'm Probably to used to epic ten minutes plus songs. The rest of the song don't quite get back on the same level, exploring darker moods or more ambient tones, a couple of tracks feeling like they brush shoulders with VGM soundtracks. Its a great sounding record, an old musical style polished and revamped with modern instruments. I have to say thought the promise of the opening two tracks leaves the rest of the album feeling slightly disappointing in its shadow. It stirs up the atmosphere and emotion then drifts into a calmer setting. Either way its a very enjoyable instrumental record.

 Favorite Tracks: Zero Moment, Grand Detector, Sensorium

Rating: 7/10

Izioq "World Of Izioq" (2016)

Time moves by fast! Already we have the second record this year from French composer Izioq. His first of the year, "New Songs For Old Kids", was my least favorite of the four but that's not to say it wasn't a good record, just a tad shorter and a little mellow in its second half as an ambient vibe drifted in. "World Of Izioq" feels like a cross between the first two. There's both recreational melodies of 8-bit wonder and lush, expansive, electronic synths which evolve from the strict set of oldskool video game sounds. In places we hear glimmers of new ideas and inspirations too which become some of my favorite moments in this latest record.

Again its a true homage to the innocence of childhood in the world of retro gaming and spirited imagination. With nostalgic carefree melodies and atmospheres of wonder there is no weight or burden for the listener. Its grounded in that innocence and is reflected so well by the record cover with its cuddly characters and welcoming smiles illuminated in the navy blue night by a friendly fire with the biggest smile. Kick starting the show with the self titled track we are brought into a rather jovial and lively upbeat set of melodies dancing around one another like the title screen of a game. As the mood continues in "Adventure Time" where we hear a distinctive accent as the song breaks for a slower moment. It may be me but I hear welcome echos of Final Fantasy and Nobuo Uematsu's story telling melodies. Again it emerges in the elegant "I Still Haven't Played Minecraft" where a flute like lead calls out a peaceful melody over lush strings and soft pianos. There are other moments where this noticeably different style emerges and it sounds fantastic, fitting in well with the overall theme.

In "The Passiest" there's an adorable moment where the song drops out to hear the clicking of controller buttons and the sound effects of retro games coming though television speakers. Its a charming touch and is very much the point of the record which develops some moodier, slower songs in the second half but never at any moment feeling a drop of sadness, with exception to Phill Collins. As we get to the back end of the record it unwinds with more abstractions and dream like melodies, finishing an arc from start to end that is quite satisfying for the thirty five minutes it runs for. A solid record and quite predictable one too. Although a few bright moments of creativity shone through this was very grounded in what has been established so far and expanded the depths of songs available for that Izioq itch.

Favorite Tracks: Adventure Time, I Still Haven't Played Minecraft, Bangers And Mash, Teenage Dreams So Hard To Beat, Song To My Cat, Mind On The Moon

Rating: 7/10

Dan Terminus "Stratospheric Cannon Symphony" (2014)

Although there is another record to devour in Dan Terminus's discography, this will be the last from me for now. Its his second full length and despite a lack of aesthetic difference it has a distinctly more EDM vibe than the previous leanings to the dark side. As much as I have enjoyed these records, there is something that just doesn't click quite like other musicians have done for me. Like on "The Wrath Of Code" its a warm and enjoyable listening experience, yet I walk away each time without an echo or melody stuck in the mind. 

Much like the albums cover, we tread into the lighter regions of dark music with a record that tingles with a cool frosty breeze as warm and inviting melodies play from the thick and chunky waveform electronic instruments which stack up in varying layers. As if on a drifting glacier, we warm ourselves in the sun of an otherwise frozen hell. As mentioned already, these melodies and leads rarely do much to forge a remarkable moment but simply dance around the broad, deep buzz saws and punchy drum kits that form the songs. "No Escape..." breaths some some life into the record with electronically distorted vocals and cleanly sung lines from two guest vocalists. Even then they are sparingly used on what is primarily instrumental music, something that could perhaps hold it back.

So I don't have too much more to say, some records are like this, its enjoyable in its moment but I don't feel anything deeper emanating from it. Perhaps there is too much reliance on the aesthetics of the instruments, which do set a vivid atmosphere, it is not backed by inspired melodies or musical direction. Instead what does occur seems to plod around in a moment moving aimlessly but looking pretty non the less.

Favorite Track: One Million Dead In 2.7 Seconds

Rating: 5/10

Dan Terminus "Rêverie" (2014)

For my second dive into the small discography of French electronic composer Dan Terminus I thought this short twenty minute EP would be an interesting listen. "Rêverie"is a break from the norm as Dan stated he would have fun, taking a break from the usual dark themes and aesthetics in favor of something happy and upbeat. Luckily for me that form of "happy" vibe isn't overly chirpy, enthusiastic or free of balance, there is plenty of room for other feelings to populate these generally positive songs however Dan can't help but steer to darker leanings at times.

In comparison to "The Wrath Of Code" we have a very similar production style but with more space in the mix to breath as the textural synths are used more sparingly. They still pack a punch with some deep wave forms but the lack of depth in layers frees the listener of the demanding density. Breaking away from the dark sound Dan still has a heavy retro inspiration that paints techno-electro fantasies with colorful dancing synthesizers. The 80s vibes course through these tracks, most noticeable when the Phil Collins style synth toms come punching into tracks with their rigid tumbling tom rolls.

Between the five tracks there is plenty of variation mainly in themes and leads. Most the tracks take on a similar tempo with momentous rhythmic patterns, as if hurtling down the cyber highway, sun glasses and hair blowing in the wind like a bad ass. Unlike the previous record I checked out the leading instruments shuffle through many more passageways and moments, rarely repeating back on themselves which made for much more progressive and organic tracks that held my interest for longer. Its a warm, breezy record knee deep in the retro-electro nostalgic fantasies that could be associated with early home console era in the mid 80s, however much richer in quality and dexterity. Dan shows a different side of himself here, one I think I prefer.

Rating: 5/10

Dan Terminus "The Wrath Of Code" (2015)

Browsing through upcoming releases for games on steam I came across NeuroVoider, a fast paced rouge-light top down shooter with a dark, atmospheric and synth heavy soundtrack. My ears immediately perked up and with a little research I found the soundtrack was made by one man band, French musician Dan Terminus. It was this record, "The Wrath Of Code" and if it was composed with the games soundtrack in mind? I am unsure but my impression is that this is another record, his third, in his discography that the developers picked up to use as a soundtrack for the game.

What was initially striking about Dan's music was a lack of predictability. Despite being relatively mild and traditional in composition style for modern music, I found myself mostly at the mercy of uncertainty to the direction it was heading. I found this experience extremely enjoyable and now after many listens I can put my finger on it. The "Dark" side of this music isn't what I'm used to, normally I gravitate to emotionally darker music, where minor, pentatonic and other such scales prevail. In this music we find a playful retro fantasy of dark cyber realms where the atmosphere create visions of movie-like heros adventuring through the electronic landscape.

The music itself is well realized with lush electronic tones oozing retro buzz saws and sine waves with a balance of harsh and softer tones that meld together in a smooth array of reverb. The atmosphere creeps through from behind with quiet ooh and aah choral synths playing in the distance and cueing the biggest moments between the the songs lead instruments. The drums are quite contrasting, with highly compressed, cutting snares and thudding kicks that lack reverb or cushion. They cut through the mix and it ends up serving as a key component in the records chemistry, the contrast in style holds the music in a unique balance.

Another notable distinction is the manipulation of dense snarly synths that roar and moan like demonic monsters, they crop up in some tracks and do wonders the further enforce the fantasy cyber world scenarios these songs conjure. I feel i should also mention this is an instrumental record, something I neglect to do as it feels irrelevant, it wasn't until writing this that it crossed my mind. "The Wrath Of Code" has been a fresh and entertaining listen however with familiarity it has lulled somewhat. It was nice to find something new, but despite being a well rounded record, there is a lack of gems or stand out moments to ascend this release into something great.

Favorite Song: The Chasm

Rating: 6/10

Izioq "New Songs For Old Kids" (2016)

The new year has finally landed! Our first record of 2016 is none other than the wonderful Izioq who has been injecting a healthy dose of smiles into my time-lapses and livestreams with the playful and spirited music that plays tribute to the wonder of the childhoods of my generation. I was undoubtedly excited to see this record released and once again suffered from a little of first listen confusion. It is a curiosity to how first impressions can be telling for some and in the case of this record, misleading. Since the second listen I have be loving this one, another warm and welcome dose of soothing, delightful melodies to fill the soul with good vibes.

What this record has going for itself, compared to the previous two, is a current of continuity, a steadier sense of theme and mood which flows from track to track breezing with a calmer and settling vibe, reflected in the shorter track listing and an average of longer songs. The album doesn't encroach on many new ideas and sits firmly in the comfort zone of its predecessor "My Own Private Video Game", with the track "My Cereal Box Song" indulging us in a playful, mischievous throwback to the nostalgic 8-bit sounds of "Retro Life" although its "break" or transitional mid phase lavishes us in an ethereal wash of swirling synthesizers. 

It kicks off with a burst of energy and the cracking "Welcome To Izio Qlub" that delivers the charming, inspired melodies we love with a chirpy upbeat punch and chunky bass-line. Its followed by stunning and dramatic strings narrating the swiftly paced traveling song "Epic Grandpa". Not long after the record calms itself into the quieter, atmospheric songs the other half of Izioq's style explored much on the predecessor. It concludes with the songs most inventive track "Song For Robin Williams". A personal tribute that drifts through an unusual, lost dimension between sorrow and wonder. Its quite the emotion jerking song when you think about who its for.

This record came together well but fell a little short of expectations, a few brighter, energetic melody driven numbers in the latter half would have given it a familiar feel, drifting between two styles but the atmospheric numbers didn't have quite the same spark. That being said, this was a very enjoyable record, that fits right into my Izioq playlist and shows there is more to be enjoyed from this universe of music.

Favorite Songs: Welcome To Izio Qlub, Epic Grandpa, My Cereal Box Song, Song For Robin Williams

Rating: 6/10

Izioq "My Own Private Video Game" (2015)

 It's taken me a while, but I've finally grown into this record and learned to love it. Sometimes it just takes some mindless listening while preoccupied to let the familiarity and mood settle in. When I first spun this one I was initially turned of by the productions change of direction and general versatility. In hits me now like a slap to the face what this records about, on "My Own Private Video Game" Izioq ditches the recreational nostalgic aesthetics of "Retro Life" in favor of his own fantasy video game world. Possessing all the charm of its predecessor, this record plays out enchanting melodies in a new and adapt aesthetic.

Loosening up on the rulebook, the aesthetics in the percussion department see the biggest change, with tightly compressed kicks, snappy snares and tinny hi hats comprising a rigid sense of groove that brings a passionate off kilt groove to these tracks with beats that take control of the ride in the moments they crop into the songs. Avoiding any simplistic or entry level beats, Izioq gives the groove a breath of life that add another level to the songs character, like on "Wallow In Sorrow" with tight shuffling snare grooves or "Soundtrack Of A Soul" where the percussion becomes part of the atmosphere. This change in aesthetics extends to the electronics too which take full use of dense reverbs and a wide range of waves that wouldn't apply in the previous context. The expansion gives much freedom that Izioq flourishes in, "Pixel Cemetery" and "A Link To Our Past" using big atmospheric synths to guide some fantastic moments in the songs.

The chemistry between the texture and the music itself is spot on. As I said Izioq flourishes here and we get a collection of charming songs that dazzle and humble in the delights of imagination. There's warm, uplifting vibes to be felt, all in a relevant and meaningful context that explore many themes. One of the albums strengths is just how much substance there is from start to end and in the middle there's a run of songs that really hit the mark for me. These compositions have a dexterity and creativity that keep these short fresh songs continually evolving and unraveling as many of the multiple layers of melodies play and dance with one another and I just love how attentive the percussion is to this, how it will drop in and out, letting the focus shift without feeling forced.

 After many listens through I barely recognize that initial reaction I had and I find myself truly loving this record and experimentation that has come to this sound and approach. The production is solid, the creative ideas are flowing and the execution is on point. Can't wait to hear whats next.

Favorite Songs: Reset, A Link To Our Past, Wallow In Sorrow, Soundtrack Of A Soul, I Guess I Should Play Minecraft, Seiklus Sky

Rating: 8/10

Izioq "Retro Life" (2015)

Emerging from the from the year 1982 this mysterious musician "Izioq", a name that looks confusing to pronounce, brings us a dose of nostalgic bliss with a retroactive worship of childhood memories inspired by the technical limitations of early computer game consoles. The cover alone gives you a strong sense of what to expect, and behind the hood we find a dazzling production that brings the best out of the buzz-saws, sine waves and digital synths of times gone by. It is not an unfamiliar concept, but on this project the focus is on the charm of the era.

On "Retro Life" the listener can take a step back in time as these songs allure like lullabies swooning you into a simpler, innocent existence, one very familiar for 90s kids with each of the track titles referencing the culture of that time. The titles are direct and so is this music which doesn't over extend itself, yet finds a balance to develop short layered compositions with jubilant, delightful melodies that transcend the simplicity they are reflecting. The compositions are adept with the techniques used in 90s VGM and even finds moments to integrate the ambient and "power up" effects into them. These songs are deep, heart felt and meaningful, all of which is apparent on the glimmering surface of every song which has a story to tell.

The compositions have a grace thats amplified by the gorgeous production, so carefully respecting the original sounds and delivering them in layers with soft reverbs that like them ooze and meld together for a rich and polished tone that can do no wrong. The chemistry is sublime and powerful, allowing the expression to shine through. For all I love and respect about this record it does not suck me in as much as id like. These sounds and the nostalgia it worships are not one I share, but I hear it clearly, on a personal level its a charming listen, but objectively id say a very special one.

Rating: 6/10

Jotun "Jotun" (2012)

Having previously written about Crow's Lord Lovidicus album "Kyndill Og Steinn" it felt fitting to talk about another project of his, Jotun. I've had a unique experience of having another artists work attached my videos, "Sailing Clouds Of Night" being the intro to my Hermitcraft series it is a testament to Crow's musical genius when viewers cry out for the intro music when i have forgotten to include it. It has also been the soundtrack to many time lapses. Its fantastic music that fits well into the Minecraft universe, but it holds it own, this music is a pleasure to enjoy whatever the environment is.

From its inception Jotun has been complete package, a music concept that fully understands itself. It blurs the lines of definition, but a fair comparison would be to 8-bit FM synthesis from old consoles like the NES with chirpy synth sounds and a focus on the melodic content. With a modernized, crisp and tuneful sound set, Crow brings his musical ideas to life through a pallet of electronic oscillators, pianos and other simulated sounds layered together with substance to make lasting and meaningful songs. Through the nine tracks many musical ideas and themes are explored, on later albums Crow continues the exploration of themes, but from this first record the concept is perfect.

From start to end this record delivers fluent compositions with each song having several melodic leads that pull in and out of focus and on many songs layering on top of one another. This is one of Joton's biggest strengths, to build several memorable tunes and find the cohesion to bring them together in the same instance. The notation is varied and progressive and not shy of turning up the pace with some charging solo leads that grab your attention and leave you in we. Underneath the leads that steal the show there is a matured rhythmic presence with a lite pallet of drums adding a subtle element of groove to tracks. The bass and lower end synths are structured and hold the songs together well behind the leading presence in these songs. Everything this record offers is on point and fantastic. Theres not a dull moment, the only downside is maybe the album length, at just under 30 minutes it always leaves me wanting more, but that in itself maybe the charm.

Favorite Songs: A Quest, Sailing Clouds Of Night

Rating 8/10